This area was once a Shangri-La draped in a veil of fog and mist.
But relentlessly you head on towards
A wicked territory
And begin an eventful life journey.

White (Afternoon, Summer)

Haven't mused over the lingering nocturne,
The seagulls looked for their dreamland to satiate the long beaks.
Without any regard for the brutal afternoon,
The wind breezed over everywhere
Day in and day out, the years past by naturally.

Gold (Sunset, Autumn)

The dazzles of the city life is incongruously
Reflected on the rippling Shing Mun River.
In the fading glow of the setting sun,
Tolo Harbour presents picturesque scenery.
Why, this is a distant memory of mine!

Black (Evening, Winter)

In a dream, the silent buoys navigate the way to
Glamorous cages of skyscrapers.
The inverted image of the magnificent college on the opposite side
Is reflected in waters.
The lights on fishing boats flicker as
The dimly lit villages are awaken
By the lonesome cries of the phoenixes in expectation of the dawn.

Every morning, people begin their hard day's work. Like the train moving tortuously, people reluctantly venture on a journey full of lies and pretence. As a result of urbanization in Ma On Shan, peace-loving seagulls could not be spared from the bewilderment and distress thus induced. Skyscrapers located alongside Shing Mun River are ablaze with lights all year round, after the intrusion upon natural wildlife habitat. Night owls have dreams on sleepless nights. They wish they were a phoenix living in Shangri-La where they welcome in the first light of morning and enjoy a panoramic view of the natural scenery every day. Adapted from Chan Chung-hei's poem of the same title, the work displays the distinctive features as well as nuances and melancholic timbres of different harmonicas. Through tuneful melodies, Hong Kong born musicians express their feelings towards the living environment and natural scenery (the Quintet often holds activities and rehearsals in Ma On Shan and Sha Tin).

Chan Ming-chi 陳明志: When the Clouds Rise 坐看雲起時

I, II, T1, T2, B, dancer, lighting

"Where the Creek Dries Out, When the Clouds Rise..."

The name of this composition is taken from a poem of Wang Wei. It is the second commissioned work for the King's Harmonica Quintet, written for the collaboration of the Quintet with a dancer. The first work expressed the feelings of art-makers. The present work utilizes shapes of body and flow of sound to show how art-makers, in the process of self-improvement, uphold their belief and strive for excellence despite difficult situation.

Fragments of memories make up a blend of sounds, images and emotions in this 11-part piece of music. Apart from a harmonica quintet, the composer includes a piano, harp, sheng and percussion. Each section makes use of a different collective of instruments and compositional techniques to lend a sense of versatility to the music. Those who were born in the 50s and 60s in Hong Kong will be familiar with the titles given to the movements and the music may lead to personal reminiscences of past events and figures.

Hui Cheung-wai 許翔威: The Scent of Poetry 詩境書香

I, II, T1, T2, B, harp

An elegant sketch composed for a harmonica quintet plus harp, this piece attempts to use these non-Chinese musical instruments to express Chinese musical elements. The traditional style of the music of the Chinese literati in the first of three movements is echoed in the last movement, while the middle movement develops the new style and features of contemporary Chinese music. Each movement creates a concept of surface or depth and an atmosphere of density or lightness.

Hui Cheung-wai 許翔威: Moving Shapes 動容

I, II, T1, T2, B

Composed for a harmonica quintet, this piece is rich with varied rhythms and interwoven combinations that convey the vivacity of a city on the move. The musical patterns are free and flowing in constantly changing movement. The tune absorbs a bit of the improvisational style of jazz music, while the harmonics are detached from any sort of rules.

Hui Cheung-wai 許翔威: Resonant Snapshots 共鳴掠影

I. A Doctor After Surgery
II. A Poet In Meditation
III. A Scientist Behind The Telescope
IV. A Diplomat On Vacation
V. An Ecologist With Aqualung

一. 手術後的醫生
二. 沉思中的詩人
三. 望遠鏡前的科學家
四. 渡假外遊的外交家
五. 潛在水裏的環境學者

The work portrays the characters of different people with harmonica music. The idea is derived from the members of the King's Harmonica Quintet. Though each of them has his own mastery and intrinsic temperament, they share the same interest in music and form a close rapport. Featuring the members' solo performances in turn in different movements, the work enables each of them to manifest his own artistic personality and emotions with the musical expression of a fusion of feelings. Resonant Snapshots is the fourth piece written for the King's Harmonica Quintet by Hui Cheung-wai.

Hui Cheung-wai 許翔威: Rendezvous Paris 約會巴黎

I, II, T1, T2, B, orchestra

This is the first piece composed for a harmonica quintet and a symphony orchestra in history. A harmonica quintet has its own unified sound, involving significant collaboration among the musicians; for the ensemble to also play with a symphony orchestra is an innovation in orchestral music. It is certainly distinct from the usual solo concerto or concerto doppio.

The condition attached to this commission was that it must be based on existing well-known tunes. In the end, I decided to draw inspirations from several works instead of just one well-known piece. It was my wish to use Paris as a theme, in order to fill the work with my feelings for French music and artistic styles.

Paris has always been a treasure house of art and a city where "beauty" lives freely. It is both the "heart" of French culture and the "stomach", absorbing the essence of the world's fine art. The works I quote from are mainly by French composers. However, they also include Stravinsky's Le Sacre du printemps premiered in Paris, Gershwin's An American in Paris and the Beatles song Michelle.

The work does not consist of the development or variations of one or two themes. Instead, its structure is based on certain images that inspired me. They are: (1) Starry Night (The piece starts with the colours of Impressionism, while the sound of the harmonicas comes from the impressions that van Gogh made on me); (2) Asymmetric Fountain (There is an artistic fountain in a square named after Stravinsky beside the Centre Georges Pompidou. Its dynamism and colours distinguish it from classical fountains.); (3) Cubes on Canvas (The Cubist expression of the music with several focal points is derived from Picasso's visual art theory of multiple points of view.); (4) Pyramid of Glass (based on I.M. Pei's timeless architectural concept at the Louvre, we can also juxtapose new and old musical styles in a passage,): (5) Ceiling with Tales (just as Chagall decorated the ceiling of the Opéra in Paris In a child-like manner, I have Introduced the fun of nursery rhymes into this work.); (6) Café on a Bridge (This may be my fabrication, There are numerous cafés in Paris and many bridges linking the two banks of the river. However, I have never seen a café on a bridge before. This composite image seems to indicate a search in the banal reality for something that does not exist but can be realised. In the work, the familiar tune of La Vie en Rose is repeatedly interrupted by vague musical passages, but still manages to assert itself in the end.)

The fragments of 22 well-known tunes are adapted in this work which progresses without interruption. While some quotations are longer, others are short or consist of just a few notes, and may be difficult for some audience to recognise. On the whole, my goal was to create an innovative work full of personal musical touches. That is why some quotations are almost concealed. They are fun to play hide-and- seek with.

Apart from cutting up, rearranging or combining many famous tunes, I have applied the rare method of superimposition several times in this composition. This includes the overlapping of fragments of the melody of the same work. Instances of the overlapping of different works are the superimposition of melodies by Fauré and Ravel (who were teacher and student), works of the same type by Franck (Fauré's teacher) and Debussy (Sonata for violin and piano), as well as works by Stravinsky and Saint-Saëns (the latter had expressed his dislike of the former's Le Sacre du printemps).

Earlier composers have occasionally written parodies. For instance, in Carnaval des animaux, Saint-Saëns turned a lively melody by Offenbach into the slow and heavy Tortoise. I, on the other hand, transformed Saint-Saëns' graceful Swan into a humourous and dancing tune, or reverently borrowed the beautiful music of earlier composers. For instance, while Gounod used Bach's Prelude in C Major as accompaniment for a song he wrote, I composed a new harmony for that song. (Although I have removed Bach's music, I still wish to acknowledge my debt to him.)

As for the Beatles song partly sung in French, a fragment of its refrain appears near the end. If the audience knows the original lyrics, it will be even more meaningful. The last quotation comes from the last movement of Messiaen's Quartet for the End of Time, which is also my deliberate design.

The work may be appreciated from different perspectives. One can listen to it in a straightforward manner without paying attention to any allusions or being familiar with the famous tunes quoted, just as the title Rendezvous Paris can have diverse interpretations.

由於並非以一兩個主題發展或變奏，我訂立的樂曲架構藍圖是一些引發我選材及創作的景象，分別為（一）星夜(Starry Night)〔樂曲由印象派的色調開始但口琴凝造聲響的手法是源於梵高給我的印象。〕（二）不對稱的噴泉(Asymmetric Fountain)〔座落於龐比度中心旁邊，史特拉汶斯基廣場的藝術噴水池，其動感與色彩是古典水池沒有的。〕（三）畫布上的立方體(Cubes on Canvas)〔從畢加索的多角度視藝理論轉化成多個焦點聲部的立體表現。〕（四）玻璃金字塔(Pyramid of Glass)〔貝聿銘在羅浮宮跨時空建築理念之折射，不囿於現實的光，我們亦可將新與舊的音樂風格同時並置於一個段落之中。〕（五）說故事的天花(Ceiling with Tales)〔巴黎歌劇院圓頂由Chagall繪上天真的色彩，讓我也把兒歌的遊玩樂趣也帶進這作品。〕（六）橋上的咖啡館(Café on a Bridge)〔這也許只是我的虛構，巴黎有許多咖啡館，也有不少橋連起河的兩岸，但我從未在一條橋上見有一間咖啡館，這個合成的意象似乎反映「在普通的現實生活中尋找未見但應可實現的東西」，在作品中耳熟能詳的La Vie en Rose幾番被迷幻不清的樂段切斷，但最終仍達到目標。〕

Hui Cheung-wai 許翔威: Reflections from a Pentagonal Crystal 五角水晶之反映

I, II, T1, T2, B, orchestra

After Rendezvous Paris, I wrote this sister piece for the King's Harmonica Quintet and the Hong Kong Philharmonic Orchestra, but this work was conceived more freely and its instrumentation is also different.

There were no previous works for ensemble playing by a harmonica quintet and a symphony orchestra that I could refer to. In writing this work, I had to ensure that the role of the quintet remained central and balanced with the immense sound spectrum of the orchestra. I also tried to explore the effects of timbral synthesis in orchestral music which had never been explored before. It was certainly a challenging and imaginative composing experience.

I associated the bright albeit somewhat thin sound of the harmonica with the image of the magical refraction of light. The symbol of the "pentagonal crystal" is expressed through the cohesive bond of the quintet. In the music, "five" also reasonably becomes a basis for the multi-faceted structure.

I tried to imagine that the flickering, intensity, concentration and flashing of light could be expressed through music. In this work, I have occasionally organised the directional spatialisation of sound sources to express the motion of 'transmission'. However, I am not trying to describe any objective optical phenomena. To tell the truth, I have not yet seen a pentagonal crystal in reality. I just made it up as an object through which we could see the world, so that the complex would become simple, the blurred would become clear and the cold would become warm.

The work is divided into three movements. The main idea of the first movement Between Us is conflict and harmony suggested by contrast. An event that stunned the world happened while I was writing it. That was why I arranged for two passages of silence in the music. The second movementFrom Mother to Mother is like a bridge. While its colours are subdued, it has more depth of feeling. In the third movement Treasures on Earth, all instruments show diversity in timbre. There is more frequent use of percussion instruments to suggest that the colours and energy buried in the earth are about to burst out.

This work is to a certain extent guided by the idea of the concerto. Due to the limitations of the small-sized harmonica and the problem of co-ordination between five chamber musicians instead of with one soloist, it is certainly more difficult than writing an organ concerto. Moreover, there is no such practical orchestral experience in terms of performance before the premiere of this work. Nevertheless, in this work, the sixth I have written for the King's Harmonica Quintet, I have tried to expand the language and technique of ensemble playing of this instrument and to create a space for the development of the unique sound of a harmonica ensemble with a symphonic orchestra.

Hui Cheung-wai 許翔威: Three Thoughts 三思

I, II, guitar

This work is chiefly tripartite, reflecting three linked stages in thinking:

From the First Idea

Between Contradiction and Correlation

Towards Perception of a Philosophy

The music evolves from serenity to thicker sounds, and from vividness back to calmness. Tonality varies from vague to clear, and old or new styles dissolve to form one of its kind. 3-part structure, including its symmetric or asymmetric forms (ABC, ABA, AAB etc.) exists on large-scale and smaller parts. The simple and profound coda is entitled Convergence at Infinity. The end seems to be another starting point.

Written at the end of the summer of 2002, Three Thoughts is the 11th work by Hui Cheung-wai upon request of harmonica players. In that summer the composer visited the Athabasca Glacier and Banff in the Rocky Mountains of great natural beauty.

No doubt, Larry Adler is a legend. He passed away in 2001 and we could no longer hear his one-of-a-kind magical tones live. That year he was still planning performances on tour to China. Unfortunately he died before realization of the plan. The last time Larry Adler revisited Hong Kong and played for us was in November 1999. At that time he was already 85 and the concert has now become a very precious part of our memories.

Larry Adler is the role model of a great many harmonica players. Yet no one has been capable to reproduce his wonderful sound. But the enthusiasm to raise the standard and develop new areas for the instrument he loves is something we could learn and pass down to younger generations. The promising growth of Hong Kong's harmonica music community in recent years with their impressive solidarity and innovation is surely an extension of the spirit of Larry Adler.

The composition expresses memories and sentiments that does not belong only to one person. Its lyricism conveys senses of remembrance and wishes. It is not telling stories or imitating Larry Adler. The texture of the music does have prominent solo harmonica sections but the ensemble and concertante combinations are important as well. Different elements are usually coexisting instead of opposing each other.

The orchestral part simply calls for the strings, as this work pursues 'purity' and 'embedding meanings in plainness'. The tumbrel tapestry is delicate and subtle. Among the composer's 15 works for harmonicas in the past, this piece is composed with the simplest technique but new ways of expression are discovered.

Hui Cheung-wai 許翔威: May Consolation 禱歌 : 苦難中得安慰

I, II, T1, T2, B

Hui Cheung-wai 許翔威: Nocturne for Voyager in Space 越空探索者之夜曲

Guqin, I, II, T1, T2, B

The voyage to explore the universe is an endless trip. The loneliness of an interstellar voyager could last for thousands of years. It is still the beginning stage in human’s space exploration. At present there are a few spaceships launched from Planet Earth heading for other galaxies. Voyager 1 and Voyager 2 are carrying humankind’s imprints, including recording of music from the world. Qin music to represent Chinese culture is among the selection. Perhaps someday in outer-space the recording will be heard by extraterrestrial listeners, and the human will hear a feedback.

The current spaceships could only proceed “slowly” through the immensity of the universe. It takes about 40000 years for Voyager 1 to pass by the nearest star of our solar system. But the spiritual odyssey of an explorer needs no destination to arrive. The journey of discovery has surpassing values itself. On Earth, there are limits in materials and ends for lands and waters. What could be boundless? How about your inner-space?

Imagine you are someone else inside a faraway spaceship in the far-future year 20010, in the midst of countless stars, listening to a nocturne in serenity…...

Hui Cheung-wai 許翔威: Trinity - A Short Hymn Without Words

I, II, T1, T2, B

Hui Cheung-wai 許翔威: A Peaceful Silent Night

I, II, T1, T2, B

Hui Cheung-wai 許翔威: A Vista of Far Long Acquaintance 友情景觀

Chromatic harmonica, I, II, T1, T2, B, piano

This piece was specially written for the 25th Anniversary of King’s Harmonica Quintet, an extraordinary example of chamber music making, to be performing together with the legendary harmonica soloist Sigmund Groven, who is undoubtedly a significant friend of KHQ, regardless of the geographic distance between Norway and Hong Kong.

The definitive composer of this “bespoke” harmonica composition knows very well the stylistic harmonica virtuosi not just in their musical temperaments but also as true friends. This work is indeed a symbolic reflection of Friendship.

This refreshing ballad with some of the melodies flow along Scandinavian impression consists of three sections all developed from the same structure of harmonic progression. Like the different perspectives on the past, the present and the future on people's mind, the consecutive sections of different tempos convey the feelings of reminiscence, celebration and hope.

Hui Cheung-wai 許翔威: Tonight My Heart Flows a Rippling Brook 小河淌水夜心曲

I, II, T1, T2, B, Chinese orchestra

Written for Harmonica Quintet and Chinese Orchestra, this symphonic poem is based on the famous tune of the Chinese folk song “The Rippling Brook”. With its special instrumentation and delicate orchestration, this work blends traditional sounds with contemporary lyrical style.

The melodic fragments drawn from the original tune form the main theme of this composition. Characteristic motives are reconstructed, extended, transposed or embellished. The beginning of the music reflects nebulous vision of broad landscape. Throughout the work, the harmony is full of impressionistic colours, with which the mountains, rivers and scenes of village life are depicted. The well-known folk tune appears clearly and completely twice with novel ornaments and counterpoint melodies. In between is a contrasting interlude with unpredictable changes.

Hui Cheung-wai 許翔威: Golden Pledge, Resounding Dream 金石契 • 絲竹夢

I, II, T1, T2, B, Chinese orchestra

It is both a challenge and an adventure into unknown territory to write a piece for harmonica quintet and Chinese orchestra, in terms of relative balance of volume, performance techniques, timbre or fusion of styles. But instrumentation that is an exception rather than the norm can create a refreshing listening experience. The delicate harmonica and the richly varied sounds of Chinese musical instruments have their individual character; and if they are put together, the crossover and blending will uncover new artistic dimensions.

The Hong Kong Chinese Orchestra and the King's Harmonica Quintet are in the forefront of music, never stopping at their respective fields or bound by their respective traditions. This commission has offered me a wonderful opportunity, as these two strong contingents meet, to bring together their sounds and recreate unique timbres.

The work, entitled Golden Pledge, Resounding Dream, carries my message to my fellow music-makers. We should look far ahead, work together and towards our dreams in music. Our insistence would form an invaluable spiritual force for us to forge ahead, into realms of the beautiful unknown.

The work attempts to blend the idioms of both traditional and contemporary music in an innovative approach that would appeal to all tastes, and reflect the colourful symphonic nuances of Chinese culture. The different textures, of the four main types of Chinese musical instruments - 'metal', 'stone', 'strings' and 'wind' - are given abstract acoustic treatments to create moods and effects that are different from the usual 'romantic' or 'lyrical' pieces. Special attention is also paid to the organic integration and timbral contrasts of the orchestra and the harmonica quintet.

Hui Cheung-wai 許翔威: Orientalische Stimmung 蓬萊聽東風

I, II / alto recorder, T1, T2, B, harmonica orchestra

Single movement with a duration of around 9 minutes, Orientalische Stimmung is similar to a symphonic poem but with the form of concertante. It was specially written for King’s Harmonica Quintet performing with HKHA Harmonica Orchestra at World Harmonica Festival 2013. Aiming at the cultural exchange between East and West, this music composition illustrates the natural roots of oriental aesthetics in a sonic elaboration by modern orchestral amalgamation of ancient / folk modes of Chinese melody, non-Western harmony and counterpoint, with occasional extemporization of sounds non-pitched and rhythmically free. Besides the colouristic parts for piano and percussions in instrumentation, the Guzheng, one of the most characteristic traditional Chinese plucked string instruments, is featured with its typical pitch gliding ornaments and glissando arpeggios. In several sections, the European recorder is even called to play the stylish sounds of flutes in the Far East.

Orientalische Stimmung was commissioned by Hong Kong Harmonica Association in 2013 with sponsorship from “Composers and Authors Society of Hong Kong” Music Fund. It received its World Premiere at Martin-Luther Church in Trossingen, Germany on 2 November 2013 with the composer himself conducting.

Lam Man-yee 林敏怡: C’est La Vie 人生如斯

I, II, T1, T2, B

Lam Man-yee 林敏怡: Tranz

I, II, T1, T2, B, erhu, band

Lam On-ki, Angel 林安淇: Silk Road, Silk Road 絲路、絲路

I, II, T1, T2, B, Percussion

I invoke the writing technique of American author Truman Capote’s non-fiction novel style in this composition. Like his A Christmas Memory, this piece is filled with childhood fantasy, though only memories, a sorrowful world of beauty too rich to be forgotten.

I. Mirage, elevation 12,000 ft.

At this elevation where the air is thin, everyone have difficulty breathing. My body became weak, head feeling dizzy, but this is all worth it.

Just looking at the majestic scenery outside the window, mountains covered with snow caps desirable like ice-cream sundaes. The sky a stunning metallic blue, against clouds that are florescent white, and the grass is an endless field of rolling greens. I have never seen so many shades and layers of green in my life...

Suddenly, I thought of my elementary school classmate... she seems to be here too, sitting right behind me. I remember that day, in my third grade class, my art teacher was not happy with my painting. She said I am always painting outside of the lines and edges of the drawing. She was angry that I do not obey the rules. I couldn't help but cried, and my classmate comforted me. She was even willing to trade me her box of soy milk for my painting.

Suddenly, she disappeared again.

II. Baby Camel Walk

This movement has two main ideas: little camel’s playful and happy personality, and traveler’s joyful and relaxing feelings riding on a camel. I fused these two elements in the music, I hope listeners can share the fun of traveling in the northwestern plains of China.

Li Cheong 李昌: Café Capriccio 咖啡隨想

I, II, T1, T2, B

I. Mocha

II. Cappuccino

III. Espresso

一. 蜜蜜意

二. 求不得

三. 愛別離

Café Capriccio is a suite of three movements written for harmonica quintet. Three types of coffee: “mocha”, “cappuccino” and “espresso” are chosen, each represents love in a different stage. “Mocha”, the sweet and bright waltz is followed by “cappuccino”, a lazy and sentimental movement written in the style of bossa nova. The final movement “espresso” is a tango, which combines passion and bitterness.

Mak Wai-chu, Clarence 麥偉鑄: A Flow To Give 風送暖

I, II, T1, T2, B

Fluttering the wind, long miles to search.
......
Rain is over, a flow to give.

This piece tries to explore the new techniques and the performing possibility of the harmonica ensemble. The music starts with fast-note gestures flowing in contrasting registers and fluctuating tempi. The tonality is gradually established with more lyrical melodic lines in the middle section. After a passage with dancing rhythm, the piece ends with a slow modal melody.

Mak Wai-chu, Clarence 麥偉鑄: Flowers Fly Everywhere 處處花飛花處處

I, II, T1, T2, B

The Chinese title of the piece is a palindrome that the first is the last, and the last becomes the first. Things so often, even the compositional creative process occasionally reflects similar. The ending of the piece composed and dedicated to the King’s Harmonica Quintet ten years ago becomes the start of the music today. The musical idea was once attempted to use string instruments to express the contrast among the melodic lines and staccato notes, but today it is presented in another interesting way, that is, to use the instrument that I loved to play in childhood, through one of the best ensembles in Hong Kong ─ Kings Harmonica Quintet, to shape another realm in sound. In this way, the pieces are related to one another, each of the distinctive contours exciting and citational. In simple terms, "everywhere" is the range of the instruments, "flower" is the figurations, "fly" is to describe the enlivening figurations shuttling in the entire range of the music.

Mui Kwong-chiu 梅廣釗: Voices of the Mountain 山之呼喚

I, II, T1, T2, B

Mui Kwong-chiu 梅廣釗: Color Clouds Suite 紅映雪語組曲

I, II, T1, T2, B

Color Clouds Suite comprises four movements: Over the Color Clouds, Red Haze, Snowflakes, and Voice of the Mountain. Although the suite is composed as a continuous work, the movements can be performed separately as individual pieces.

Over the Color Clouds is a fast movement. It is about a journey over clouds of ever-changing colours. In Red Haze, contrapuntal lines and melodic fragments are used to describe the beautiful colour change of haze. In Snowflakes, the quintet plays as if it were a string orchestra portraying massive snowy mountains. Instances of avalanche occur but the journey continues. The suite concludes with a lyrical piece Voices of the Mountain, symbolising consolation from Mother Nature and the plucking up of courage to purse ideals in life. The work was specially written for a harmonica quintet. When I was composing the suite, I was thinking of five wonderful instruments that have the unique properties that exist in a blend of the beautiful tone colours of a string ensemble and a woodwind section.

Mui Kwong-chiu 梅廣釗: Autumn Landscape Suite 秋山紅葉組曲

I, II, T1, T2, B, piano, sheng, harp, percussion

Autumn Landscape Suite is a chamber work for a harmonica quintet, sheng, harp, piano and percussion instruments. It blends the virtuosity and the unique sound of the quintet with the other instruments. The suite consists of three movements depicting the beautiful natural landscape: Red Leaves, The Woods after the Autumn Rain and The Mountain at Sunset. The suite uses artificial scales and modes that blend with whole-tones scales. Red Leaves is a description of autumn scenery. In The Woods after the Autumn Rain, the sheng and the harp together describe the woods after a rainfall, while the piano towards the end portrays a stream. In the last movement, The Mountain at Sunset, some extended performing techniques for the piano are used to emulate echoes in the mountain.

Mui Kwong-chiu 梅廣釗: Hong Kong Landscape Suite 香江素描組曲

I, II, T1, T2, B, piano

Hong Kong Landscape Suite is specially composed for the King's Harmonica Quintet, piano and percussions. The Suite includes an introduction and three movements, namely The Embankment off the Golden Coast, Colour Rain, and Spectacular Night. The work integrates musical materials such as diatonic, pentatonic, whole-tone, artificial scales, sets and quartal chords to portray scenes from Hong Kong which is a modern metropolis blending the East and West.

Mui Kwong-chiu 梅廣釗: Rhapsody of Color Clouds Chasing the Moon 彩雲追月狂想曲

I, II, T1, T2, B, sheng, piano

I, II, T1, T2, B, Chinese orchestra

Colour Clouds Chasing the Moon is the composer's favourite Chinese pieces. The melody arouses thoughts and memories of the picturesque scenes of Mid-Autumn Festival, the quietness of the night and the poetic moonlight shadows... adding wonderful moments to his life. This work Rhapsody of Colour Clouds Chasing the Moon is a response to this wonderful melody. Composer uses the harmonica quintet, the Chinese sheng and the piano for the instrumentation of this piece. He incorporated the modern compositional techniques as well as the traditional ones to blend the Western and Chinese musical materials. In this work, he names a number of sections: an Introduction, Chasing the moon, the Romance, the Moon-Dance, the Remembrance and a coda; all originated and developed from the famous melody. Each section embodies certain thoughts, memories, passions and fantasy. This musical creation represents one of composer's goals in his life.